I want to do two things: first, try to show what projective or OPEN verse is, what it involves, in its act of composition, how, in distinction from the non-projective, it is accomplished; and II, suggest a few ideas about what stance toward reality brings such verse into being, what the stance does, both to the poet and to his reader. The stance involves, for example, a change beyond, and larger than, the technical, and may, the way things look, lead to a new poetics and to new concepts from which some sort of drama, say, or of epic, perhaps, may emerge. Then the poem itself must, at all points, be a high-energy construct and, at all points, an energy-discharge. So: how is the poet to accomplish same energy, how is he, what is the process by which a poet gets in, at all points energy at least the equivalent of the energy which propelled him in the first place, yet an energy which is peculiar to verse alone and which will be, obviously, also different from the energy which the reader, because he is the third term, will take away? This is the problem which any poet who departs from closed form is specially confronted by. And it involves a whole series of new recognitions.
|Published (Last):||13 May 2009|
|PDF File Size:||1.96 Mb|
|ePub File Size:||14.67 Mb|
|Price:||Free* [*Free Regsitration Required]|
Her thesis is on Black Mountain College and postwar American poetry, with a focus on the relationship between poetry and psychology, and the development of the creative writing program. She is an assistant editor at the Manchester Review, the online journal from the Centre for New Writing at the University of Manchester.
Dodd Center, principally examining the unpublished correspondence between Charles Olson and Henry Murray. Forrest G. Morgan in the s and was founded on the psychoanalytic mechanism of projection, whereby a subject expels thoughts or wishes that are too unpleasant or uncomfortable to recognize in themself into or onto another object.
The projective psychological test utilizes this movement from the unreadable, interior space of the unconscious to an exterior object, by asking the participant to interpret an unstructured stimulus, like a suggestive image or single word.
What happened to them? What are their present thoughts and feelings? What will be the outcome? Dodd Centre has in four annotated drafts. Despite the correspondence beginning over their shared academic interests and Cambridge circles, it is clear that they developed a close friendship, and at times the exchanges are intensely personal.
In this particular note from , Olson announces the birth of his daughter [see Figure 3]. These are especially useful to my thesis and, combined with research completed last year in the Black Mountain College archive at Western Regional, are slowly beginning to build a bigger picture of the life of the college. Though the Olson-Murray letters make up just a fraction of the research collection, these small discoveries are enormously rewarding, and I would highly recommend making use of this rich collection.
Dodd Research Centre. Dodd Research Center. Murray, Harvard University Archives. Bibliography Butterick, George F. Berkeley: University of California Press. Butterick, George F. Clark, Tom. Berkeley: North Atlantic Books. Duberman, Martin. Black Mountain: An Exploration in Community. New York: E. McGurl, Mark. Massachusetts: Harvard University Press. Melville, Herman. Pierre; or, The Ambiguities. Edited by Henry A. New York: Hendricks House, Inc. Murray, Henry A.
New York: Oxford University Press. Olson, Charles. Call Me Ishmael. Selected Writings of Charles Olson. Edited Robert Creeley. New York: New Directions. The Maximus Poems. Robinson, Forrest G. Wilson, Robert N. New York: Garland Publishing. Bookmark the permalink. All power to your elbow Lucy!
In his influential essay on projective or open verse, Olson asserts that "a poem is energy transferred from where the poet got it he will have some several causations , by way of the poem itself to, all the way over to, the reader. Then the poem itself must, at all points, be a high energy-construct and, at all points, an energy-discharge. But the syllable is only the first child of the incest of verse. The other child is the LINE.
Projective Verse (Charles Olson, 1950)
Her thesis is on Black Mountain College and postwar American poetry, with a focus on the relationship between poetry and psychology, and the development of the creative writing program. She is an assistant editor at the Manchester Review, the online journal from the Centre for New Writing at the University of Manchester. Dodd Center, principally examining the unpublished correspondence between Charles Olson and Henry Murray. Forrest G.
Charles Olson and Henry Murray: Projective Verse and the Projective Test